Opened in 1986, Delhi’s Baháʼí House of Worship by Fariborz Sahba abstracts a 27‑petal lotus in white Makrana marble over a concrete and steel frame. Open to all faiths, the temple’s nine entrances and prayer hall for silent devotion embody Baháʼí principles of unity, while reflecting pools, gardens, and careful maintenance welcome millions annually.
The lotus—common to South Asian religions—became a unifying motif. Twenty‑seven marble‑clad petals in three rings form shells around a nine‑sided hall, recalling the Baháʼí pattern of nine as completeness.
Ribbed reinforced‑concrete shells and a space frame support the petals; Makrana marble panels are mechanically fixed to precast units. Clerestory glazing and skylights bathe the hall in diffuse light, while cross‑ventilation and stack effects temper Delhi’s climate.
Nine pools and axial paths pattern a contemplative campus, buffering traffic noise and heat. Native planting reduces irrigation demand; visitor flows are managed with shaded queues and shoe‑removal areas.
Silent prayer only—no sermons—aligns with Baháʼí practice. Volunteers maintain cleanliness and wayfinding; conservation monitors marble joints, sealants, and drainage to prevent staining.
